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THE MISSISSIPPIAN PERIOD CRIB THEME: CONTEXT, CHRONOLOGY, and ICONOGRAPHY THESIS Presented to the Graduate Council of Texas

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THE MISSISSIPPIAN PERIOD CRIB THEME: CONTEXT, CHRONOLOGY, and ICONOGRAPHY THESIS Presented to the Graduate Council of Texas THE MISSISSIPPIAN PERIOD CRIB THEME: CONTEXT, CHRONOLOGY, AND ICONOGRAPHY THESIS Presented to the Graduate Council Of Texas State University‐San Marcos in Partial Fulfillment of the Requirements for the Degree Master Of ARTS by Johann Albert Sawyer, B.A. San Marcos, Texas May 2009 THE MISSISSIPPIAN PERIOD CRIB THEME: CONTEXT, CHRONOLOGY, AND ICONOGRAPHY Committee Members Approved: __________________________ F. Kent Reilly, III, Chair __________________________ James F. Garber __________________________ Adam King Approved: _________________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Johann Albert Sawyer 2009 ACKNOWLEDGMENTS I would like to express my gratitude to the Native American peoples of the Southeastern United States. I would also like to thank Emman Spain and Tim Thompson of the Muscogee Creek Nation. I owe a debt of gratitude to my family and friends for their love and perseverance while I wrote this manuscript. I express my sincere appreciation and thanks to my dear friend Fr. Robert Williams for his guidance, scholarship, and occasional frivolity. I would also like to thank my colleagues and friends from the Southeastern Iconographic Conferences: Robert Sharp, David Dye, Jim Knight, Jim Brown, George Sabo, George Lankford, Carol Diaz-Granados, and Jim Duncan. I am very thankful to the members of my thesis committee, including Dr James. F. Garber and especially Dr. Adam King for all his assistance. My sincerest appreciation and admiration goes to my advisor Dr. F. Kent Reilly III for his friendship, pedagogy, and mentorship, without which I would not be where I am today. Lastly, I must thank the Department of Anthropology, Texas State University-San Marcos for their support. This manuscript was submitted on March 06, 2009. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS...........................................iv LIST OF TABLES...........................................vii LIST OF FIGURES.........................................viii CHAPTER I. INTRODUCTION.......................................1 The Purpose of This Thesis.......................1 Art, Ideology, and Iconographic Interpretation...4 II. HISTORY OF RESEARCH..............................23 III. THEORY AND METHODOLOGY..........................50 IV. THE CORPUS.......................................69 The Bennett Style...............................72 The Moorehead Style.............................92 The Donnaha Style..............................100 Donnaha A Gorgets.........................103 Donnaha B Gorgets.........................104 Donnaha C Gorgets.........................108 The Warren Wilson Style........................111 Warren Wilson A Gorgets...................113 Warren Wilson B Gorgets...................114 v Warren Wilson C Gorgets...................119 Warren Wilson D Gorgets...................122 V. DISCUSSION.......................................127 Temporal, Geographic, and Stylistic Implications...................................127 Bennett Style.............................130 Moorehead Style...........................141 Donnaha Style.............................150 Warren Wilson Style.......................157 Iconographic Implications......................164 VI. SUMMARY AND CONCLUSION..........................196 REFERENCES CITED.........................................209 vi LIST OF TABLES Table Page 1. Synopsis of the Panofsky Method (adapted from Panofsky 1955:40-41)..........................................62 2. Crib themed gorgets burial contexts...................183 vii LIST OF FIGURES Figure Page 1. Mississippian period shell objects: (a) Engraved shell gorget with double dancers............................2 2. Seated Marble Statues of elite ancestors and possible founding lineage.....................................10 3. John White Watercolor of Indian Charnel House from Theodore De Bry Engraving in America, pt I (1590), pl. XXII)(http://www.virtualjamestown.org/images/white_debry_html/wh ite37.html)............................................11 4. Codex Selden Page Six..................................14 5. Codex Zouche-Nuttall Pages 7-8.........................14 6. Mississippian style regions (adapted from Townshend 2004:6)..............................................51 7. Changes in Etowah art styles: (a) Line drawing of copper repoussé Rogan Plate.................................56 8. Primary crib motif composed of overlapping bars (Primary Elements)............................................70 9. Typical crib theme central motifs......................70 10. Components of the crib symbol/crib theme..............71 11. Composition of the Bennett style......................73 12. (a) Shell Gorget Tenn-Mi-B1...........................74 13. (a) Hiwassee Island red-on-buff bowl..................76 14. Hiwassee Island red-on-buff bowl......................76 15. Plan of Mound A showing burial locations with Burials 75 and 32 highlighted................................77 viii 16. (a) Shell Gorget Tenn-Hm-H1...........................81 17. Hixon Mound (1Ha3) Profile (Neitzel and Jennings 1995:377)............................................84 18. Eastern Tennessee Gorget Seriation (Sullivan 2001a, 2007:100)............................................85 19. Shell Gorget Tenn-Pi-K1...............................89 20. (a) Shell Gorget Okla-Lf-S19..........................91 21. Composition of the Moorehead Style....................93 22. (a) Shell Gorget Ga-Brt-E31...........................94 23. Map of Etowah Mound C Burials with Burials 16 and 17 highlighted (King 2004:150)..........................95 24. (a) Shell Gorget Tenn-Sr-CS6..........................97 25. Crib themed mica cutout (1972.3.1621), Moundville Alabama..............................................99 26. (a) Close-up of crib themed mica object (1972.3.1621); (b) Line drawing of mica crib object.................99 27. General outline of Donnaha style and Donnaha A sub- style...............................................101 28. Structural outline of the Donnaha B sub-style........101 29. Structural outline of Donnaha C sub-style............102 30. Outline of Donnaha C to show circular shape..........102 31. Comparison of Donnaha sub-styles.....................103 32. (a) Shell Gorget Kv-X1...............................103 33. (a) Shell Gorget Ga-El-BC3...........................105 34. (a) Shell Gorget Nc-Yd-D5............................108 35. (a) Shell Gorget Nc-Yd-D8............................109 36. (a) Shell Gorget Va-Ws-X1............................110 ix 37. General outline of the Warren Wilson style...........112 38. Comparison of Donnaha A and Warren Wilson D Gorget to illustrate stylized edge of Warren Wilson style: (a) Donnaha A style.....................................112 39. Shell Gorget Tenn-Mo-Tq20............................113 40. Outline of Warren Wilson B...........................115 41. Shell Gorget (Tenn-Mo-Tq19)..........................116 42. Plan Map of Mound B Phase B..........................117 43. Shell Gorget (Tenn-Mo-Tq18)..........................119 44. Outline of Warren Wilson C style.....................120 45. Shell Gorget (Tenn-Mo-Tq16)..........................121 46. Shell Gorget (Tenn-Mo-Tq17)..........................122 47. General Outline of Warren Wilson D style.............123 48. (a) Shell Gorget (Nc-Bu-WW4).........................124 49. (a) Shell Gorget NC-Bu-WW5...........................125 50. Crib theme styles over time with respective sites....128 51. Geographic distribution of all crib themed gorgets...129 52. Geographic distribution of Bennett style gorgets.....131 53. Geographic distribution of Moorehead style gorgets...142 54. Hypothetical model of Native American cosmological structure (Reilly 2004:127).........................145 55. Geographic distribution of Donnaha style and Warren Wilson gorgets......................................151 56. Common Dallas phase art styles from the Dallas site (Sullivan 2001a, 2007:104)..........................154 x 57. Relative area of Donnaha and Moorehead Style Influence, which indicates two style regions...................157 58. Some Mississippian period complicated stamped motifs (adapted from King 2003:31).........................161 59. (a) Filfot cross; (b)Filfot scroll (adapted from Anderson 1994:364-365)..............................161 60. Square Ground Lamar Stamped motifs (Snow 1990:87)....162 61. Map of Range site, A.D. 800-900 (Kelly 1990:97)......166 62. Architectural Layout of Hixon site House (Neitzel and Jennings 1995:386)..................................167 63. Mississippian architectural design elements (Lewis et al. 1998:7).........................................168 64. Dallas phase primary structure (Polhemus 1990:129)...169 65. Creek Square Ground (Kealedji) (Swanton 1928:252)....171 66. Chiefly litters......................................177 67. Cox Mound style as cosmological model (Lankford 2004:211, 2007:30)..................................180 68. Crib square overlaid with structure and central fire................................................181 69. Ideological and physical layout of the Creek Square Ground (Nabakov and Easton 1989:110)................188 70. Diagram of Yuchi Green Corn ceremony closing Dance (Nabakov and Easton 1989:110).......................188 xi CHAPTER I INTRODUCTION The Purpose of This Thesis Throughout much of the eastern and Midwestern United States Native Americans masterfully crafted elaborately carved and engraved shell objects. These shell objects,
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